Over the last generation or so, the nuclear unit of the family—father, mother, and their children—has both altered and remained the same, in concept and in composition. While clearly defined by law, society and the church, the notion of family has arguably changed beginning in the late 20th century, as people in many parts of the world live in unprecedented freedom—in mobility, work, education, lifestyle, ideas and, not least, technological and information access.
The exhibit Modern Negrense Family aims to explore the nuances of the Filipino family’s transition by focusing on the specificities of the southern province of Negros Occidental. The exhibit has tapped seventeen local artists, namely Rafael Paderna, Rodney Martinez, Perry Argel, Angela Silva, Roedil “Joe” Geraldo, Revo Yanson, Neil Benavente, Darel Javier, Frelan “Pakz” Gonzaga , Moreen Austria , Olive Gloria, Michael John “Mikiboy” Pama , Guenivere Decena, Erika Mayo, Brandon Braza, Vincent Sarnate, and Ann Gaurana, to respond to the question: what is the modern Negrense family? With ages ranging from 20s to 80s, this diverse group of artists represents three generations of Negrense family.
The resulting collection of paintings, sculptures, prints, photographs, mixed media works, and installations present affecting portraits of contemporary local family life, which point to sociological, psychological, and politico-economic issues that need unpacking and further understanding. Abandonment, separation, economic hardship, and pervasiveness of technology are some of the themes that overlap throughout the exhibition.
Martinez’ “The New Negrenses” shows a backdrop of traditional Negros Occidental as he knew it growing up, but he puts front and center the cheeky, very casual images of current-day Negrenses who seem to be more focused on individuality rather than conformity to societal standards.
Meanwhile, “Into The Ring of Fire” by Benavente and Groupie” by Javier show in a very humorous and relatable way the pervasiveness and power of technology and communication in dictating the behavior of modern Negrense family members; social media technology as an addiction
Gonzaga’s”[Father] Figures” illustrates the repercussions of fathers leaving, whether for long OFW stints abroad or in abandonment of their families for whatever reason, with its effects on the women and children at the foreground of the piece.
“Look in the Mirror and Say I Love You” by Decena uses the concepts of reflecting and mirroring in the service of her commentary on what to her, is a modern Negrense family, revealing the the strong matriarchal line that is evident in many modern families, including hers.
“The Lovers” the youngest artist, Gaurana, points to her belief that a family does not require having children. She believes that in modern times, being with a partner without any children, as long as the couple shows their vulnerability to one another, can already be considered a family.
With several works talking the concept from different dimensions, the exhibit is not designed to be comprehensive and definitive in its representation, nor is it meant to be an occasion for artists, as well as viewers, to pass judgment on one another. Modern Negrense Family hopes to give voice to a diversity and plurality of perspectives and to engender a conversation that can be beneficial for all.
